The Jennifer Morgue l-3

by Charles Stross

  James Bond is a creature of fantasy, perhaps best described using a literary term looted from that most curious and least respected of fields, fan fiction: the Mary-Sue. A Mary-Sue character is a place-holder in a script, a hollow cardboard cutout into whose outline the author can squeeze their own dreams and fantasies. In the case of Bond, it's cruelly easy to make a case that the famous spy was his author's Mary-Sue, for Fleming had a curious and ambiguous relationship with spying.

  A dilettante and dabbler for his first three decades, unsuccessful as a stockbroker, foreign correspondent, and banker, Fleming fortuitously landed his dream job on the eve of the Second World War: Secretary to the Director of Naval Intelligence in the Admiralty. The war was good for Ian Fleming, broadening and deepening him and giving him a job that captured his imagination and drew out his not inconsiderable talents. But Fleming was the man who knew too much: privy to too many secrets, he was wrapped in tissue paper and prevented from pursuing his desire to go into the field. He ended the war with a distinguished record — and absolutely no combat experience (if one excludes being bombed by the Luftwaffe or watching the Dieppe raid from a destroyer safely far off the Normandy coastline).

  Fleming grew up in the shade of a father who died heroically on the Western Front in 1917, and in adult life, he wrote in the shadow of an elder brother whose reputation as a novelist surpassed his own. It's easy to imagine these unkind familial comparisons provoking the imaginative but flighty playboy who almost found himself during the war, which goaded him into imagining himself in the shoes of a hero who was not merely larger than life, but larger in every way than his own life.

  And, as it turns out, James Bond was larger than Ian Fleming. Not only do few novels survive their author's demise, even fewer acquire sequels written by other hands; yet several other authors (including Kingsley Amis and John Gardner) have toiled in Fleming's vineyard. Few fictional characters acquire biographies written by third parties — but Bond has not only acquired an autobiography (courtesy of biographer John Pearson) but spawned a small cultural industry, including a study of his semiotics by Umberto Eco.

  Now, that has got to be a sign of something ...

  As with every true pearl, there was a sand-grain of truth at the heart of Bond. Fleming wrote thrillers informed by his actual experience. Years spent working out of the hothouse environment of Room 39 of the Admiralty building — headquarters of the Naval Intelligence Division of the Royal Navy — gave him a ringside seat on the operations of a major espionage organization. On various trips to Washington, DC, he worked with diplomats and officers of the OSS (predecessor organization to the CIA). There is also some evidence that, as a foreign news manager at the Sunday Times after the war, Fleming made his agency's facilities available to officers of MI6. His first Bond novels were submitted to that agency for security clearance before they were published. Bond himself may have been larger than life, but the strictures imposed by the organization he worked for were drawn from reality, albeit the reality of an intelligence agency of the early 1940s.

  The world of secret intelligence-gathering during the Second World War was, however, very different from life in the intelligence community today. It was already changing by the late 1950s, as the bleeping, football-shaped Sputniks zipped by overhead and intelligence directors began dreaming of spy satellites. By 2004, when MI5 (the counterintelligence agency) openly placed recruiting advertisements in the press, we can be sure that Bond would have been best advised to seek employment elsewhere. Spies are supposed to be short — less than 180 centimeters (5 feet 11 inches) for men — and nondescript. As a branch of the civil service, MI5's headquarters are presumably nonsmoking, and drinking on the job is frowned upon. As intelligence agencies, MI5 and MI6 staffs aren't in the business of ruthlessly wiping out enemies of the state: any decision to use lethal force lies with the Foreign Secretary, the COBRA committee, and other elements of the British government's security oversight bureaucracy. An MI6 agent driving a 1933 Bentley racer with a supercharged engine, frequenting the high-stakes table at a casino as James Bond so memorably did in his first print appearance, is an almost perfect inversion of the real picture.

  Nevertheless, the archetype has legs. James Bond continued to grow and evolve, even after his creator put away his cigarette holder for the last time. To some extent, this was the product of storytelling expediency. The film adaptations started in the middle of a continuing story arc — for Fleming wrote his novels with a modicum of continuity — and while Dr. No was the first to make it to celluloid, the novel was in fact a sequel to From Russia with Love (which was filmed second). Thus, various liberties were taken with the plot of the canonical novels right from the start. You can read the novels at length without finding anything of the banter between Bond and M's secretary Moneypenny that is a recurrent theme of the films, for example, and that's before we get into the bizarre deviations of the midperiod Roger Moore movies (notably The Spy Who Loved Me and Moonraker).

  The literary James Bond is a creature of prewar London clubland, upper-crust, snobbish, manipulative and cruel in his relationships with women, with a thinly veiled sadomasochistic streak and a coldly ruthless attitude to his opponents that verges on the psychopathic. Over the years, his cinematic alter ego has acquired the stamina of Superman, learned to defy the laws of physics, ventured into space — both outer and inner — and deflowered more maids than Don Juan. He's also mutated to fit the prejudices and neuroses of the day, dabbling with (gasp!) monogamy, and hanging out with those heroic Afghan mujahedeen in the late-'80s AIDS-and-Soviets-era the Living Daylights. He's worked under a ball-breaking postfeminist M in GoldenEye[2 An excellent piece of casting that places Dame Judi Dench in the role, apparently inspired by real-life MI5 head Stella Rimington, who has taken to writing spy thrillers in her retirement.], and even confronted a female arch-villain in The World Is Not Enough (an innovation that would surely have Fleming, who formed his views on appropriate behavior for the fairer sex in the 1920s, rolling in his grave). But other aspects of the Bond archetype remain timeless. Fleming was fascinated by fast cars, exotic locations, and intricate gadgetry, and all of these traits of the original novels have been amplified and extrapolated in the age of modern special effects.

  Just how does James Bond — a "sexist, misogynist dinosaur, a relic of the Cold War," to use the words the scriptwriters on GoldenEye so tellingly put into M's mouth — survive in the popular imagination more than fifty years after his literary birth? What does it mean when Mary-Sue stalks the landscape of the imagination, blasting holes in the plot with a Walther PPK (or the P99 Bond upgraded to in Tomorrow Never Dies)? If we're going to understand this, perhaps we ought to start by looking at Bond's dark shadow, the Villain. In Search of Mabuse Bond is, if you judge him by his work, a nasty fellow and not one you'd choose to lend your car to. In order to make this rough diamond glitter, it is necessary to display him against a velvet backdrop of darkest villainy. If you strip the Bond archetype of the bacchanalia, glamorous locations, and fashion snobbery, you end up with an unappetizingly shallow, cold-blooded executioner — the likes of Adam Hall's Quiller or James Mitchell's Callan, only without the breezy cynicism, or indeed any redeeming features at all. The role of adversary is thus a critical one in sustaining the appeal of the protagonist. Fleming set out to depict a hard-edged contemporary world where the usual black-and-white picture of the prewar thriller had blurred and taken on some of the murky gray-on-gray ambiguity of the Cold War era; Bond was the knight shining armor, fighting for virtue and the free world against the dragon — be they Mr. Big, Dr. No, Auric Goldfinger, or the looming shadow of Bond's greatest enemy of all, Ernst Stavro Blofeld, Number One of SPECTRE, the Special Executive for Counter-intelligence, Terrorism, Revenge, and Extortion.

  It is interesting to note that Blofeld assumed his primacy as Bond's #1 enemy only in the movie canon, Fleming originally invented him while working on the screenplay and novel of Thunderball, and used him subsequently in On Her Maj
esty's Secret Service and You Only Live Twice. (Prior to these later books, Bond typically tussled with less corporate enemies — Soviet stooges, unregenerate Nazis, and psychotic gangsters.) Blofeld was born out of mere corporate expediency.

  Rather than demonize the Soviets and reduce their potential audience, the producers of the film From Russia with Love appropriated SPECTRE as the adversarial organization.

  With the success of Thunderball, the fourth of the films, Blofeld moved front and center, and acquired a life of his own that far exceeded his prominence in the novels. Arguably, Fleming's death in 1964 freed up the movie series to diverge from their original author's plans; and so Blofeld may be seen as a demon of necessity, conjured up from the vasty deep in order to provide Bond with a worthy adversary.

  'Twas not always so. Back at the turn of the twentieth century, around the time that the British spy thriller was gradually cohering out of the mists of the penny dreadful and the literature of suspense (via the works of John Buchan and Erskine Childers — not to mention the tangential contributions of Arthur Conan Doyle, by way of Sherlock Holmes), there was no dualistic vision of the great champion confronting the villainous heart of evil. There was no mighty champion: we were on our own against the masters of night and mist, the great and terrible supercriminals. Professor Moriarty, Holmes's nemesis — the Napoleon of Crime — was but one of these: Fantomas, the 1911 creation of Pierre Souvestre and Marcel Allain, is another. The emperor of crime, Fantomas was a master of disguise and an agent of chaos (not to mention standing astride Paris in black mask, top hat and tails in the posters for the 1913 movie of the same name: an icon of decadent wealth and criminal chaos). Nor was he alone. Guy Boothby's 1890s supervillain Dr. Nikola fits the bill, too, right down to the fluffy lap-cat and the fiendish plans. But perhaps the root of Bond's nemesis can be found in his full-fledged form somewhat later, and somewhat further to the east — in the guise of Dr. Mabuse.

  Dr. Mabuse is an archetype and a runaway media success in his own right, famous from five novels and twelve movies. The Doctor was created by author Norbert Jacques, and was developed into one of the most chilling creations of the silent era in 1922 by no less a director than Fritz Lang. Mabuse is a name, but one that nobody in their right mind speaks aloud. He's a master of disguise, naturally, and a rich, wellconnected socialite and gambler. (Some social context: M gambling at the high-stakes table is not so much an innocuous recreation as an obscenity, in a decade of hyper-inflation and starvation, with crippled war veterans dying of cold on the street corners, as was the case in Weimar Germany.) Mabuse has his fingers in every pie, by way of a syndicate so shadowy and criminal that nobody knows its extent; he's a spider, but the web he weaves is so broad that it looks like the whole of reality to the flies trapped within. He is (in some of the stories) a psychiatrist, skilled in manipulation, and those who hunt him are doomed to become his victims. If Mabuse has a weakness it is that his schemes are over-elaborate and tend to implode messily, usually when his most senior minions rebel, hopelessly late; nevertheless' he is a master of the escape plan, and with his ability to brainwash minions into playing his role, he's a remarkably hard phantom to slay.

  It is all too easy to make fun of the likes of Fantomas and Dr. Nikola, and even their modern-day cognates such as Dr. Mabuse and Ernst Stavro Blofeld — for do they not represent such an obsessively concentrated pinnacle of entrepreneurial criminality that, if they really existed, they would instantly be hunted down and arrested by INTERPOL?

  Careful consideration will lead one to reconsider this hasty judgment. Criminology, the study of crime and its causes, has a fundamental weak spot: it studies that proportion of the criminal population who are stupid or unlucky enough to get caught. The perfect criminal, should he or she exist, would be the one who is never apprehended — indeed, the one whose crimes may be huge but unnoticed, or indeed miscategorized as not crimes at all because they are so powerful they sway the law in their favor, or so clever they discover an immoral opportunity for criminal enterprise before the legislators notice it. Such forms of criminality may be indistinguishable, at a distance, from lawful business; the criminal a paragon of upper-class virtue, a face-man for Forbes.

  When the real Napoleons of Crime walk among us today, they do so in the outwardly respectable guise of executives in business suits and thousand-dollar haircuts. The executives of WorldCom and Enron were denizens of a corporate culture so rapacious that any activity, however dubious, could be justified in the name of enhancing the bottom line. They have rightfully been charged, tried, and in some cases jailed for fraud, on a scale that would have been the envy of Mabuse, Blofeld, or their modern successor, Dr. Evil. When you need extra digits on your pocket calculator to compute the sums you are stealing, you're in the big league. Again, when you're able to evade prosecution by the simple expedient of appointing the state prosecutor and the judges — because you're the president of a country (and not just any country, but a member of the rich and powerful G8) — you're certainly not amenable to diagnosis and detection in the same sense as your run-of-the-mill shoplifter or petty delinquent. I'm naming no names (They have intelligence services! Cruise missiles!), but this isn't a hypothetical scenario.

  Interview with the Entrepreneur In an attempt to clarify the mythology surrounding James Bond, I tracked down his old rival to his headquarters in the Ministry of Inward Investment in the breakaway Republic of Transdniestria. Somewhat suspicious at first, Mr. Blofeld relaxed as soon as he realized I was not pursuing him on behalf of the FSB, CIA, or IMF, and kindly agreed to be interviewed for this book. Now at age seventy-two, Blofeld is a cheerful veteran of numerous high-tech start-ups, and not a few multinationals where, as a specialist in international risk management and arbitrage, he applied his unique skills to business expansion. Today he is semi-retired, but has agreed to work in a voluntary capacity as director of the state investment agency.

  "It took me a long time to understand the agenda that the British government was pursuing through the covert activities of MI6," he told me over a glass of sweet tea. "Call me naive, but I really believed — at least at first — that they were honest capitalists, the scoundrels."

  Over the course of an hour, Ernst explained to me how he first became aware that the UK was attempting to sabotage — his business interests. "It was back in 1960 or thereabouts, that they first tried to destroy one of my subsidiaries. Until then I hadn't really had anything to do with them, but I believe one of my rivals in the phosphate mining business at the time put it about that my man on site was some sort of spy, and they sent this Bond fellow — not just to arrest my "

  man or charge him with some trumped-up nonsense, but to kill him." His lips paled with indignation as he contemplated the iniquity of the situation: that agents of the British government might go after an honest businessman for no better reason than an unsubstantiated allegation that he was spying on American missile tests. "I warned Julius to be carefull and advised him to put a good lawyer on retainer, but what good are lawyers when the people you're up against send hired killers? Julius brought in security contractors, but this Bond fellow still murdered him in the end. And the British government denies everything, to this day!"

  Ernst obviously believes in his own moral rectitude, but I had to ask the obvious questions, just for the record.

  "Yes, I was chief executive of SPECTRE for twelve years.

  But you know, SPECTRE was entirely honest about its activities!

  We had nothing to hide because what we were doing was actually legal. We've been mercilessly slandered by those rogues from MI6 and their friends in the newspapers, but the fact is, we're no more guilty of criminal activity than any other multinational today: we simply had the misfortune to be foreign and entrepreneurial at a point in time when Whitehall was in the grasp of the communist conspirators Wilson and Callaghan, and their running-dog, so-called 'Conservative' fellow Heath. And we were pilloried because what we were doing was in direct competition with the in
efficient state-run enterprises that my good friend Lady Thatcher recognized as mosquitoes battening on the lifeblood of capitalism. That cad Fleming put it about that SPECTRE stands for 'Special Executive for Counter-intelligence, Terrorism, Revenge, and Extortion' — absolute tosh and nonsense! Would a group of criminals really call themselves something that blatant? I'll remind you that SPECTRE is actually a French acronym, as befits a nonprofit charity incorporated in Paris. The name stands for 'Societe professionelle et ethique du capital technologique reinvesti par les experts.[3 Literally: "Professional and Ethical Society of Technological Capital Reinvested by Experts."] Venture capitalists specializing in disruptive new technologies, in other words — commercial space travel, nuclear power, antibiotics. Not some kind of half-baked terrorist organization! But you can imagine the threat we posed to the inefficient state monopolies like the British Aircraft Corporation, the coal mining industry, and Imperial Chemical Industries."

  Blofeld paused to sip his tea thoughtfully. "We were ahead of our time in many ways. We pioneered business methods that later became mainstream — Sir James Goldsmith, Ronald Perelman, Carl Icahn, they all watched us and learned — but by then, the commies were out of power in the West thanks to our friends in the establishment, so they had an easier time of it. No need to hire lots of expensive security and build concrete bunkers on desert islands! And yes, that made us look bad, don't think I'm unaware of it — but you know, you want bunkers and isolated jungle rocket-launch bases? All you have to do is look at Arianespace! It's fine when the government bureaucracies do it, but if an honest businessman tries to build a space launch site, and hires security to keep the press and saboteurs from foreign governments out, it's suddenly a threat to world security!"

  He paused for a while. "They put the worst complexion on everything we did. The plastic surgery? Well, we had the clinic, why not let our staff use it, so the surgeons could sharpen their skills between paying customers? It was a perk, nothing more. We did — I admit it — acquire a few companies trading in exotic weapons, nonlethal technologies mostly.